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Musical expression

Musical expression refers to the process by which performers convey emotional, interpretive, and structural meaning in music through variations in elements such as tempo, dynamics, timbre, and articulation, going beyond the composed notes to communicate nuances to listeners.^[1] This expression is often achieved via iconic coding, where musical features mimic vocal or bodily expressions of basic emotions like happiness or sadness; intrinsic coding, which uses the music's internal syntactic relationships to qualify emotional content; and associative coding, relying on cultural or personal links to evoke specific feelings.^[1] From a psychological perspective, musical expression encompasses five key facets: generative rules that clarify musical structure, emotional communication to convey intended affects, random variations due to human performance limitations, motion principles that align timing with biological patterns, and stylistic unexpectedness that introduces deviations from conventions for interpretive depth.^[2] Philosophically, musical expression is viewed as music's capacity to represent or impinge upon extra-musical realities, such as human emotions, experiences, or even metaphysical truths, often analogized to language in its ability to structure and evoke meaning without propositional content.^[3] Thinkers like Arthur Schopenhauer posited that music uniquely reveals the underlying "will" of existence, while modern analytic philosophers such as Peter Kivy argue for a more formalist approach, emphasizing music's internal relations over direct emotional reference, though others like Christopher Peacocke highlight metaphorical mappings between musical properties and emotional states.^[3] In performance, these elements are not merely technical but embodied, drawing on the performer's personal engagement to create interpersonal connections with audiences, particularly in genres like popular music singing where vocal inflection and gesture play central roles.^[4] Historically, the study of musical expression traces back to doctrines like the Baroque Affektenlehre, which systematized ways to arouse specific affects through musical figures, evolving into empirical research that confirms cross-cultural recognition of basic emotions in music while acknowledging the role of context in more complex expressions.^[1] Today, it remains a core aspect of musicology, psychology, and education, influencing how performers are trained to balance fidelity to scores with personal interpretation, and how listeners derive profound emotional responses from musical works.^[2]

Definition and Fundamentals

Core Definition

Musical expression refers to those elements of a musical performance that depend on the performer's personal interpretation or understanding of the composer's intentions, extending beyond the literal notes specified in the score to convey emotion, narrative, or rhetorical intent.^[5] This interpretive layer distinguishes expressive playing from mechanical note reproduction, involving variations in timing, volume, timbre, and articulation that add nuance and shape to the music.^[5] In musical scores, expression is often guided by notational marks such as the crescendo symbol (<), indicating a gradual increase in volume, which first appeared in the late 18th century, and the fermata (𝄐), a hold sign originating in the Renaissance (15th century) but with precedents in earlier chant notation.^[6]^[7] These and similar indications proliferated in the 19th century to provide performers with clearer directives for infusing emotion, though much expression remains subject to individual discretion.^[8] While compositions may embed inherent expressiveness through structural elements like harmony and melody, musical expression is ultimately realized in performance, where interpreters apply culturally informed variations to bring the work to life.^[9] This distinction highlights how notation serves as a framework, but the performer's choices—such as subtle dynamic shifts—activate the music's emotional potential.^[10]

Role in Musical Performance

Musical expression significantly enhances audience engagement in both live and recorded performances by evoking empathy and emotional responses through deliberate performer choices in timing, amplitude, and gesture. Psychological studies demonstrate that variations in these elements communicate intended emotions, with listeners showing heightened sensitivity—particularly those with musical experience—to expressive cues, leading to stronger affective connections and perceived emotional depth. For instance, manipulations of note duration and volume in piano performances result in sigmoidal patterns of emotional perception, where moderate variability maximizes empathy and arousal in audiences.^[11] Expressive performances also increase enjoyment and understanding compared to rigid notations, fostering empathy via shared emotional experiences between performers and listeners.^[12] Artistically, musical expression permits personalization of standardized scores, allowing soloists to infuse unique interpretations that reveal multifaceted emotional layers in canonical works. In Beethoven's piano sonatas, such as the Pathétique, performers' choices in microtiming and gestural emphasis enable individualized emotional readings—ranging from subtle blends of joy and unease—while aligning with collective listener perceptions of core meanings, thus elevating the artistic impact beyond literal notation.^[13] This personalization underscores expression's role in transforming fixed compositions into dynamic vehicles for artistic innovation in live settings and recordings. A prominent case study appears in opera, where musical expression conveys character emotions through vocal inflection, timbre, and recurring motifs, intensifying dramatic narratives and eliciting profound psychological effects. Voice types, such as the warm mezzo-soprano in Bizet's Carmen to depict seduction or the clear lyric soprano in Verdi's Rigoletto for innocence, combine with acting and plot to shift audience emotions toward transcendence and heightened arousal, as evidenced by psychophysiological measures like increased heart rate and chills.^[14]^[15]

Historical Development

Ancient and Medieval Periods

In ancient Greek philosophy, musical expression was conceptualized through the doctrine of mimesis, wherein music imitates emotions, characters, or cosmic order to influence the listener's soul and moral development. Plato, in his Republic (Book III, 398–400), argued that specific musical modes exert profound ethical effects: the Dorian mode fosters courage and temperance, suitable for guardians, while the Phrygian mode promotes passion tempered by social harmony, but modes like the Lydian were rejected for inducing lamentation and softness, potentially corrupting the youth's character formation.^[16]^[17] This selective use of modes in education (paideia) aimed to align music with rational virtue, ensuring it shaped societal harmony without excess sensuality.^[18] Aristotle, building on Platonic ideas in the 4th century BCE, extended mimesis to include music's capacity for emotional arousal and catharsis, as outlined in his Poetics and Politics (Book VIII, 1339a–1342b). He viewed music not merely as imitation but as a direct means to purge passions through pity and fear, providing ethical education and intellectual pleasure, with the Dorian mode particularly valued for instilling firmness and virtue.^[18]^[17] Unlike Plato's stricter censorship, Aristotle emphasized music's recreational role in balancing the soul, though he cautioned against modes like the Phrygian for their orgiastic tendencies that could weaken moral resolve.^[18] Roman thinkers adapted these Greek foundations by drawing parallels between musical delivery and oratorical rhetoric, emphasizing expression's persuasive power. Quintilian, in his Institutio Oratoria (Book I, Chapter 10), advocated training in music for orators to master voice modulation, rhythm, and emotional inflection, citing examples like Gaius Gracchus using a pitchpipe to sustain tone during speeches, thereby enhancing delivery's affective impact akin to musical phrasing.^[19] This rhetorical analogy influenced later treatises, notably Boethius' De institutione musica (c. 500 CE), which integrated Greek ethos theory by classifying music into cosmic, human, and instrumental types, all capable of soothing or disturbing emotions to shape character, as seen in anecdotes of Pythagoras calming frenzy with modal shifts.^[20]^[18] During the medieval period, musical expression evolved within Christian liturgy, prioritizing spiritual elevation through restrained forms like church modes and Gregorian chant, which embodied ethical and devotional functions derived from Boethian transmission. Theorists such as Guido d'Arezzo, in his Micrologus (c. 1025–1028), described the eight modes' affective qualities—e.g., the first (Dorian) as serious, the second (Hypodorian) as sad, and the third (Phrygian) as mystic—to guide chant composition, ensuring melodic simplicity fostered contemplation rather than sensual indulgence.^[21] This approach reflected a Christianized mimesis, where monophonic chant's measured rhythms and modes aimed to purify the soul and align it with divine order, avoiding the emotional excesses of secular music in favor of humble piety.^[18]

Baroque to Classical Eras

In the Baroque era, the Doctrine of Affections emerged as a central framework for musical expression, positing that music could systematically evoke specific emotions through deliberate choices in harmony, melody, rhythm, and other elements. Johann Mattheson, in his 1739 treatise Der vollkommene Capellmeister, articulated how composers should select musical figures to represent particular affects, such as using descending melodic lines and minor keys to convey sadness, thereby linking rational design to emotional impact.^[22] Similarly, Johann Joachim Quantz, in his 1752 Versuch einer Anweisung die Flöte traversière zu spielen, emphasized the rhetorical power of melody and harmony to stir affections, advising performers to imitate oratorical delivery in order to move listeners' passions effectively.^[23] This doctrine, rooted in earlier rhetorical traditions, guided composers to maintain unity within a single affect per movement while varying internal elements for vivid depiction.^[24] Baroque opera and instrumental works exemplified these principles through innovative vocal and structural techniques that heightened emotional drama. In Claudio Monteverdi's L'Orfeo (1607), expressive recitatives employed flexible rhythms and sparse harmonic support to mimic natural speech inflections, allowing characters to convey profound grief or resolve, as in Orfeo's lament "Tu se' morta," where chromatic descents underscore despair.^[25] George Frideric Handel's oratorios, such as Messiah (1741), further advanced this approach with recitatives that transitioned seamlessly into arias, using sudden harmonic shifts and melodic leaps to depict narrative tension and affective climaxes, thereby engaging audiences in the biblical drama without staging.^[26] Transitioning to the Classical era, composers like Joseph Haydn and Wolfgang Amadeus Mozart refined Baroque expressiveness within more balanced, symmetrical forms, emphasizing restraint and structural clarity. In sonata form, they deployed dynamic contrasts—sudden shifts from forte to piano—to heighten dramatic tension and resolution, as seen in Haydn's Symphony No. 94 ("Surprise," 1791), where a explosive forte chord interrupts a gentle melody to evoke surprise and delight.^[27] Mozart similarly used these contrasts in works like his Piano Sonata in C minor, K. 457 (1784), to articulate emotional arcs within the exposition and development, balancing affective intensity with formal proportion.^[27] A pivotal publication influencing this shift was Carl Philipp Emanuel Bach's Essay on the True Art of Playing Keyboard Instruments (1753), which advocated for sensitive, improvisatory expression through subtle dynamics and embellishments, promoting an "empfindsamer Stil" that prioritized intimate emotional nuance over overt Baroque grandeur.

Romantic Era

The Romantic era marked a profound shift in musical expression, emphasizing personal emotion, individualism, and subjectivity over the structured affections of earlier periods like the Baroque. This transformation is often traced to Ludwig van Beethoven's late string quartets, composed in the 1820s, which served as a pivotal bridge to Romantic sensibilities by delving into introspective, unconventional forms that prioritized inner turmoil and spiritual depth. For instance, the String Quartet in C-sharp Minor, Op. 131 (1826), abandons traditional multi-movement structures for seven continuous sections, blending epic variations, a scherzo, and a poignant Adagio to convey raw emotional intensity and personal narrative.^[28] Philosophically, this era's focus on music as a direct conduit for the human will and emotions drew heavily from Arthur Schopenhauer's metaphysics, which posited music not as a representation of Platonic Ideas but as an immediate expression of the Will—the underlying, irrational essence of existence—capable of evoking universal feelings like joy or sorrow without conceptual mediation.^[29] Schopenhauer's ideas, outlined in The World as Will and Representation (1819), profoundly influenced Romantic composers by elevating music's role in transcending individuality and accessing profound emotional truths, with melody serving as a mirror of human volition through its tensions and resolutions.^[30] Friedrich Nietzsche extended this in The Birth of Tragedy (1872), viewing music—particularly in its Dionysian form—as a primal expression of the will, unbound by Apollonian rationality, and essential for affirming life's chaotic vitality amid modernity's alienation; this resonated with Romantic ideals of art as a communal, mythic force.^[31] Richard Wagner embodied these principles in his concept of Gesamtkunstwerk, or total work of art, introduced in The Artwork of the Future (1849), where music, poetry, and drama unite through emotional synthesis to create a utopian, collective experience driven by love and inner feeling, as seen in his later operas like the Ring cycle.^[32] In composition, Romantic expression manifested through innovative techniques that evoked personal narratives and nature's drama. Frédéric Chopin's nocturnes exemplify this via rubato, a flexible tempo allowing the melody to "borrow" time for expressive elongation, particularly in the right hand's singing lines while the left-hand accompaniment remains steady, infusing pieces like those in Op. 9 (1830–32) with intimate, vocal-like emotional nuance and pianist-specific interpretive styles.^[33] Similarly, Franz Liszt's symphonic poem Les Préludes (1854) pioneered programmatic music, transforming a single motif through thematic development to depict life's emotional arc—from serene love and bucolic calm to stormy conflict and triumphant victory—drawing from Alphonse de Lamartine's poetry to externalize inner passions via orchestral color and contrast.^[34] Performance practices in the Romantic era amplified this subjectivity through virtuosic display and interpretive liberty, as in piano concertos where soloists like Liszt showcased dazzling technique to convey heroic individualism. Critics such as Robert Schumann championed this freedom, arguing in his 1838 review of string quartets that music must reveal "rare soul-states" to transport listeners into art's spiritual realm, prioritizing emotional authenticity over rigid adherence to notation.^[35]

Modern and Contemporary Periods

The early 20th century marked a pivotal shift in musical expression through reactions against Romantic individualism, emphasizing abstraction and structural innovation. Arnold Schoenberg's Pierrot Lunaire (1912) exemplified atonal expressionism by employing Sprechstimme—a half-sung, half-spoken vocal technique—to convey fragmented psychological states and eerie atmospheres, drawing on Albertine Giraud's symbolist poems for a stark, introspective intensity.^[36] In contrast, Igor Stravinsky's The Rite of Spring (1913) harnessed rhythmic vitality through barbaric, irregular meters and pulsating ostinatos to evoke primal rituals, prioritizing visceral energy over melodic lyricism in a primitivist framework.^[37] These works diverged sharply: Schoenberg's atonal dissonance internalized emotional turmoil, while Stravinsky's polyrhythms externalized collective force, both challenging tonal harmony and expanding expressive possibilities beyond narrative sentiment. The advent of recording technology profoundly influenced musical expression by enabling post-production editing and the preservation of improvisational spontaneity. In jazz, Louis Armstrong's recordings with the Hot Five and Hot Seven (1925–1928) showcased virtuoso trumpet improvisations that emphasized personal flair and rhythmic swing, transforming the soloist into the genre's expressive core and allowing global dissemination of ephemeral performances.^[38] Similarly, in electronic music, Karlheinz Stockhausen's tape manipulations in works like Gesang der Jünglinge (1956) integrated human vocals with synthesized sounds through splicing, layering, and spatialization, creating novel timbral expressions that blurred live and mediated realities.^[39] These techniques shifted expression from real-time performer decisions to composer's editorial control, fostering hybrid forms where technology amplified affective depth. Contemporary globalization further diversified musical expression by incorporating non-Western elements, particularly through microtonal explorations in spectralism during the 1970s. Gérard Grisey's Partiels (1975) analyzed harmonic spectra from low tones to derive microtonal inflections, thus prioritizing timbral evolution over discrete pitches.^[40] This approach integrated acoustic phenomena from diverse cultures, expanding expression toward immersive, perceptual immersion rather than cultural isolation. A key trend post-2000 involves algorithmic composition in AI-assisted music, which challenges traditional performer expression by automating generative processes. Systems like those employing deep learning models generate coherent structures from vast datasets, as surveyed in computational music research as of 2023.^[41] As of 2024, models like Suno and Udio enable text-prompted full song generation, intensifying discussions on authorship and spontaneity in AI-assisted expression.^[42] This evolution democratizes creation but raises debates on authenticity, as AI outputs simulate expressive nuance without embodied performance.

Techniques and Elements

Dynamics and Volume

Dynamics in music refer to the variations in loudness and intensity that performers use to convey emotional depth and structural contrast. These elements are notated using Italian terms that originated in the Baroque and Classical periods, with composers like Haydn and Mozart commonly employing markings such as piano (soft), forte (loud), crescendo (gradually increasing volume), and decrescendo or diminuendo (gradually decreasing volume). This notation evolved from earlier Baroque practices, where dynamics were often implied through context rather than explicitly marked, transitioning to precise symbols like the hairpin for crescendos in the late 18th century to allow for more controlled interpretation. Expressive functions of dynamics include building tension through gradual swells toward symphonic climaxes, creating a sense of narrative progression, or evoking intimacy via subtle whispers in chamber music settings. For instance, a crescendo can heighten anticipation in orchestral passages, drawing listeners into emotional peaks, while sudden pianissimo shifts foster vulnerability and introspection. In ensemble performances, dynamics also ensure balance, where louder sections from brass or percussion contrast with softer string passages to highlight thematic development without overpowering the overall texture. This interplay relates to timbre, as volume changes can alter the perceived color and warmth of instruments, enhancing expressive nuance while maintaining harmonic clarity. A prominent historical example is Hector Berlioz's Symphonie fantastique (1830), where dynamic swells in the orchestration, particularly in the "March to the Scaffold" movement, use escalating crescendos from orchestral tutti to sudden fortissimos, amplifying dramatic tension and programmatic storytelling. Berlioz's innovative use of these techniques expanded the expressive palette of Romantic orchestration, influencing later composers in their approach to volume as a tool for emotional narrative.

Tempo, Rhythm, and Phrasing

Tempo, rhythm, and phrasing are essential elements of musical expression that shape the temporal flow of a piece, allowing performers to infuse urgency, relaxation, or structural clarity through subtle manipulations of speed and pulse. Tempo rubato, often described as "stolen time," involves a flexible disregard of strict notated rhythm and tempo to enhance expressiveness, typically by lengthening or shortening melodic notes while maintaining a steady accompaniment.^[43] This technique can create a sense of emotional ebb and flow, such as lingering on poignant notes to evoke tenderness. Accelerando and ritardando further contribute by gradually increasing or decreasing the overall tempo; accelerando builds intensity and conveys urgency or excitement, while ritardando provides relaxation and resolution, often integrating with dynamic shifts to heighten contrast.^[44] Agogic accents, meanwhile, emphasize specific notes through slight extensions in duration rather than volume, altering the rhythmic pulse to highlight melodic importance and foster tension-release patterns.^[45] Phrasing divides melodies into coherent, breath-like units that mimic natural speech or vocal inflection, guiding the listener through the music's structure and emotional arc. In vocal lines, these divisions align with a singer's breath capacity, creating intuitive pauses that punctuate ideas, as seen in art songs where phrases rise questioningly or descend declaratively.^[46] Similarly, string passages employ phrasing to shape long bows or fingerings that simulate inhalation and exhalation, ensuring melodic groups feel organic and expressive rather than mechanical. This approach underscores the performer's role in interpreting notation to convey narrative intent, with slurs often marking these divisions for clarity. In jazz, swing rhythm exemplifies rhythmic expression through its lilting eighth-note inequalities and microtiming deviations, generating a propulsive groove that motivates bodily movement and evokes a sense of joyful entrainment.^[47] Beethoven's symphonies, such as the Eroica (Op. 55), demonstrate tempo markings like Adagio assai at ♩=80 for the second movement, which provide a baseline pulse yet allow interpretive freedom through rubato to realize the composer's dramatic vision.^[48] These markings balance precision with flexibility, enabling performers to adapt for emotional depth without rigid adherence. The introduction of the metronome in 1815 by Johann Nepomuk Maelzel revolutionized notation by enabling precise tempo indications, as Beethoven utilized in his symphonies to specify beats per minute.^[49] However, this tool coexists with interpretive freedom, as performers often deviate slightly for expressive phrasing and rubato, prioritizing musical feeling over mechanical exactitude.

Articulation and Ornamentation

Articulation refers to the manner in which individual notes are attacked, sustained, and released, shaping the character and flow of musical lines. Common types include staccato, which produces detached, shortened notes indicated by a dot above or below the note head, creating separation and rhythmic clarity. Legato, denoted by a curved slur connecting notes, calls for smooth, connected performance with minimal interruption between tones, fostering a lyrical and flowing quality.^[50] Accents emphasize specific notes through a stronger attack, symbolized by a wedge (^) or greater-than sign (>), adding dynamic contrast and highlighting rhythmic or structural points. Ornamentation involves embellishments such as trills, appoggiaturas, and mordents that add nuance and vitality to melodies. In Baroque conventions, as outlined by Johann Joachim Quantz, trills consist of rapid alternations between a principal note and its upper neighbor, often starting on the auxiliary note to express passions like cheer or melancholy, and are executed with even speed for brilliance.^[51] Appoggiaturas, leaning dissonant notes resolving to consonance, are divided into long (accented at cadences for harmonic emphasis) and short (passing for melodic enlivening) varieties, typically slurred softly to the following note.^[51] Mordents, quick alternations with a neighboring note below the principal, provide subtle brilliance without the duration of trills, produced via finger and tongue coordination on winds.^[51] These were often improvised by performers to suit the piece's affect, guided by taste and regional styles.^[52] By the Romantic era, ornamentation shifted toward greater notated freedom and individual expression, as seen in Frédéric Chopin's works where added graces like appoggiaturas and neighbor notes intensify emotional depth. In Chopin's Mazurka Op. 7 No. 2, dotted rhythms and agogic accents on upper neighbors evoke the pathos of Polish dance, with performers lengthening fermatas to heighten dramatic tension.^[53] This contrasts Baroque conventions by prioritizing subjective interpretation over strict rules, allowing ornaments to convey personal sentiment.^[54] Articulation and ornamentation play key expressive roles, such as conveying playfulness in Domenico Scarlatti's sonatas through fluctuating articulations like spasmodic hand crossings and rushing arpeggios, which build rhythmic energy and undercut initial joviality with tension.^[55] In Chopin's Prelude Op. 28 No. 7, accented upper neighbors and tenuto markings on climactic notes create a pathétique accent, enhancing lyrical pathos through subtle tempo variations.^[53] The evolution of these elements progressed from Baroque-era improvisation, where performers expanded written notes with graces per treatises like Quantz's, to Classical precision with more notation by composers like Mozart, and ultimately to 20th-century minimalism, where Ravel insisted on exact adherence to the score without added embellishments.^[56] This shift reflects increasing composer control, reducing performer-added flourishes in favor of notated intent.^[52]

Theoretical Perspectives and Debates

Mimesis and Rhetoric

In ancient Greek philosophy, mimesis referred to music's capacity to imitate human passions, natural phenomena, or divine harmony, thereby influencing the listener's emotional state. Pythagoras and his followers posited that musical intervals, derived from mathematical ratios such as the octave (2:1) and fifth (3:2), reflected the cosmic order known as the harmony of the spheres, allowing music to attune the soul to universal proportions and evoke specific emotions like tranquility or agitation.^[18] Plato expanded this in his Republic, arguing that music mimics ethical characters through modes—for instance, the Dorian mode imitating courage and the Phrygian mode temperance—shaping the moral disposition of the young via objective representations of vocal and gestural expressions of feeling.^[18] Aristotle, in contrast, viewed mimesis as music directly representing emotional states themselves, as in the Politics, where he described how melodies arouse pity, fear, or enthusiasm, facilitating catharsis without merely copying external signs.^[18] During the Renaissance, theorists adapted these mimetic ideas into a rhetorical framework, treating music as persuasive discourse akin to oratory. Gioseffo Zarlino, in his seminal 1558 treatise Le Istitutioni harmoniche, integrated Aristotelian and Platonic concepts to argue that music imitates the affections of the text through structural analogies to speech, emphasizing harmony, rhythm, and textual disposition as key to emotional persuasion.^[57] Zarlino compared musical figures to oratorical devices to reinforce affective intensity, thereby elevating composition to an art of eloquent imitation that moves the listener's soul.^[57] This approach drew on classical rhetoric, treating music as a poetic craft that enhances verbal meaning.^[58] Practical applications of mimesis and rhetoric appeared prominently in Renaissance vocal genres like motets and madrigals, where word-painting illustrated textual imagery through musical gestures. In sacred motets, composers such as Josquin des Prez employed ascending lines to depict divine ascent or descending intervals for sorrow, directly imitating the poetic content to evoke devotional response.^[59] Secular madrigals, particularly in the Italian tradition, intensified this with madrigalisms—rhythmic or melodic figures mirroring words like "weep" through descending semitones or "fly" via rapid scales—as seen in Luca Marenzio's settings, where such devices rhetorically amplify emotional narrative.^[59] These techniques served mimetic purposes by objectively representing textual ideas, fostering a structured affective engagement.^[60] A key distinction in these theories lies between objective imitation, where music structurally mirrors external passions or cosmic ratios as in Pythagorean and Platonic views, and subjective feeling, which emphasizes the listener's internal arousal as Aristotle described, though Renaissance rhetoric often blended the two by prioritizing textual imitation over unmediated emotional induction.^[18]

Emotional and Affective Theories

The doctrine of the affections, or Affektenlehre, emerged as a foundational framework in 18th-century Western music theory for evoking specific emotions through deliberate musical structures, positing that certain figures and patterns could directly arouse affective states in listeners.^[24] Early precursors to this approach appear in Athanasius Kircher's Musurgia universalis (1650), where joy is represented by upward melodic leaps and rapid, ascending lines to symbolize elevation and vitality, while sorrow is conveyed through descending chromatic lines and slow, languishing rhythms to mimic descent and melancholy. These associations influenced later Baroque theorists like Johann Mattheson, who expanded the Affektenlehre to include a broader catalog of musical devices—such as dotted rhythms for majesty or syncopations for agitation—aimed at stirring precise passions through the imitation of their physical manifestations.^[22] In the Romantic era of the 19th century, these ideas evolved toward a more profound and boundless conception of music's emotional power, emphasizing its capacity to evoke infinite longing and spiritual depth rather than discrete affects. E.T.A. Hoffmann's 1810 review of Beethoven's Fifth Symphony articulated this shift, describing instrumental music as capable of plunging listeners into "the depths of the spirit realm" through motifs that awaken "that longing for the infinite which is the essence of Romanticism," blending terror, joy, and melancholy in an unending emotional narrative.^[61] This perspective profoundly shaped compositional practice, as seen in Franz Liszt's symphonic poems, where programmatic elements like thematic transformations in works such as Les Préludes (1854) draw on Hoffmann's ideals to represent expansive emotional journeys, from personal introspection to cosmic yearning, thereby expanding the Affektenlehre's rhetorical precedents into subjective, psychological realms.^[62] Twentieth-century psychological models further refined these arousal theories by grounding emotional responses in cognitive processes, particularly through expectation and its fulfillment or delay. Leonard B. Meyer's Emotion and Meaning in Music (1956) proposed that affective reactions arise from the tension created by anticipated patterns—such as harmonic progressions or melodic contours—and the subsequent release upon resolution, where deviations heighten suspense and conformity yields catharsis, thus explaining music's power to elicit joy, sorrow, or tension without literal representation.^[63] This expectation-based framework underscores how Western musical expression operates through structural implication, aligning with earlier doctrines but emphasizing listener psychology over composer intent. While the focus here remains on Western traditions, analogous mechanisms of emotional arousal appear in non-Western systems, such as the Indian classical concept of rasa, where specific ragas evoke prescribed aesthetic emotions—like shringara (romantic love) in Raga Yaman through ascending phrases or karuna (compassion) in Raga Bhairavi via descending, plaintive scales—mirroring the direct affective impact of Western figures but rooted in cultural prescriptions for mood induction.^[64]

Formalism and Critiques of Expression

Formalist theory emerged as a significant counterpoint to emotive interpretations of music, positing that musical value derives from its internal structures rather than external emotional associations. Eduard Hanslick's seminal 1854 treatise On the Musically Beautiful articulated this view by asserting that music's essence lies in the "play of tones," an autonomous arabesque of sound forms independent of any representational content. Hanslick criticized the prevailing Romantic ideal of music as emotional expression, arguing that such claims confuse subjective listener responses with the music's objective properties; for him, describing music as "expressing joy" or "sorrow" is a metaphorical error, as tones cannot literally embody feelings. This formalist stance influenced subsequent aesthetics by prioritizing perceivable musical relationships—such as harmony, rhythm, and melody—over psychological or narrative interpretations. In the 20th century, Igor Stravinsky advanced a modern formalist critique in his 1942 lectures compiled as Poetics of Music in the Form of Six Lessons, where he explicitly rejected subjective expression in favor of objective compositional form. Stravinsky described music not as a conduit for the composer's personal emotions but as an artifact shaped by technical organization, stating that "the phenomenon of music is given to us with the sole aim of establishing an order in things." He dismissed Romantic notions of inspiration as illusory, emphasizing instead the discipline of craft that renders music an impersonal object, akin to architecture or mathematics, thereby freeing it from the variability of human sentiment. This perspective aligned with Stravinsky's neoclassical phase, where works like Symphony of Psalms (1930) prioritize structural clarity over affective immediacy.^[65] Debates within serialism further exemplified this formalist emphasis, particularly through Pierre Boulez's advocacy for structural integrity as paramount over performer-infused emotion. In essays collected in Stocktakings from an Apprenticeship (1966 English edition), Boulez portrayed serial music as a rigorous system where every parameter—pitch, duration, dynamics—is governed by mathematical relations derived from a tone row, rendering subjective interpretation antithetical to the work's integrity. He insisted that performers must execute the score with mechanical precision to honor its objective architecture, warning against "expressive liberties" that distort the composer's intent; for Boulez, emotion arises secondarily from structural encounters, not personal projection, as seen in his total serial works like Structures Ia (1952). This approach positioned serialism as a bulwark against the perceived excesses of earlier expressive traditions.^[66] Contemporary formalist critiques have intersected with broader cultural debates, notably through feminist analyses that interrogate expression's gendered dimensions. Susan McClary, in Feminine Endings: Music, Gender, and Sexuality (1991), critiqued Romantic expressive paradigms—and by extension, formalist reactions to them—as embedding gendered hierarchies, where unchecked emotional "excess" is coded feminine and dismissed as irrational, while masculine structure is valorized as universal. McClary examined how formalist denials of content in works by Beethoven or Liszt reinforce patriarchal norms by erasing music's social connotations, arguing that such views obscure how expression historically pathologizes female-associated traits like hysteria or sentimentality. Her analyses, drawing on examples from Berlioz's Symphonie fantastique, highlight how formalist objectivity often serves to contain and marginalize these elements, prompting reevaluations of music's absolute claims.^[67]

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[PDF] How Expression and Emotion Affect the Audience's Perception of a ...
Apr 28, 2017 · Expression and emotion in a musical performance affects how the music is perceived by the audience. A study of a song's composer and the ...
[15]
Expressive Meaning and the Empirical Analysis of Musical Gesture
This paper presents a novel empirical approach to analyzing musical expression, in which the interpretations of individual theorists are balanced with listener ...
[16]
Opera, the Art of Emotions - OperaVision
Music is a necessary and inextricable component of opera ... Some authors use recurrent musical motifs to represent a character, an emotion or a concept.
[17]
Emotions induced by operatic music: Psychophysiological effects of ...
Operatic music performance involves both singing and acting, which multiplies the mechanisms by which emotions are induced in listeners. Opera adds the power of ...
[18]
[PDF] Music: Its Expressive Power and Moral Significance
Plato explored the effects each of the various musical modes had on character formation, and argued for the moral superiority of those that foster self- ...
[19]
[PDF] A Critique of the Agonistic View of Greek Musical Modes in Plato ...
This essay will analyze the modes as music and from the Greek modal music structures, examine the affects and conditions which Plato and Aristotle place upon ...
[20]
History of Western Philosophy of Music: Antiquity to 1800
Jul 13, 2021 · An additional function of music, according to Aristotle, is catharsis. ... 4th century BCE) argues that harmonics should not be concerned with ...
[21]
LacusCurtius • Quintilian — Institutio Oratoria — Book I, Chapters 7‑12
### Summary of References to Music in Relation to Oratory or Delivery in Quintilian's Institutio Oratoria (Book I, Chapters 7–12)
[22]
[PDF] Fundamentals of Music - Classical Liberal Arts Academy
Library of Congress Cataloging-in-Publication Data. Boethius, d. 524. [De institutione musica. English]. Fundamentals of music/ Anicius Manlius Severinus ...
[23]
[PDF] WHAT IS CHAPTER 17 OF GUIDO'S MICROLOGUS ABOUT? - CORE
absence of language dealing with the impact of music, with its meaning or emotional significance.17 Now Guido suddenly takes on a new tone; words implying ...
[24]
[PDF] A Comparative Study of Perspectives in Musical Structural Features ...
As already mentioned, Mattheson stated in his Der Vollkommene Capellmeister that joy is elicited by large intervals, while sadness by small intervals.16. The ...
[25]
Baroque Music and the Doctrine of Affections - Semantic Scholar
Along with numerous other music theorists of the eighteenth century, Johann Joachim Quantz compares an expressive musical performance to the delivery of a ...
[26]
[PDF] The Doctrine of Affections: Where Art Meets Reason
Sep 21, 2017 · Affections, in conjunction with the four temperaments and body humors, thusly result in specific emotional reactions in listeners. Keywords.
[27]
https://s.music.org/16/item/1747-the-function-of-dynamics-in-the-music-of-haydn-mozart-and-beethoven-some-implications-for-the-performer.html
[28]
[PDF] Handel's Bass Solos in His Oratorios - ScholarWorks@CWU
Aug 12, 1971 · A composite narrative poem, completely sung with orchestral accompaniment, but without scenery, costumes, or dramatic action (1,516). Recitative.
[29]
The Function of Dynamics in the Music of Haydn, Mozart, and ...
Oct 1, 1976 · Dynamic contrast is one of the main devices employed for this purpose. ... E.g., see the analysis of the theme from Mozart's piano sonata in A ...
[30]
Beethoven's String Quartets: A Short Guide | Carnegie Hall
Mar 20, 2020 · The final quartet from Beethoven's middle period is a bridge to his mind-bending late quartets. He dubbed it “Serioso,” and he wasn't kidding.
[31]
Schopenhauer's Aesthetics - Stanford Encyclopedia of Philosophy
May 9, 2012 · The theory had a deep influence on Brahms, Wagner, Mahler and Schönberg (see Goehr 1998, and Magee 1997, chapter 17), and is echoed in Susanne ...
[32]
History of Western Philosophy of Music: since 1800
Jul 13, 2021 · According to Schopenhauer, music is not a representation of Ideas, but rather of the Will itself. Music and the world are expressions of the ...
[33]
Nietzsche's Aesthetics - Stanford Encyclopedia of Philosophy
Feb 14, 2025 · As this simple fact indicates, reflection on art (and especially, on music and drama) is an abiding and central feature of Nietzsche's thought.
[34]
[PDF] From Gesamtkunstwerk to Music Drama
Against this background, I explore Wagner's aspirations by comparing the two major. Zurich writings, Das Kunstwerk der Zukunft and Oper und Drama. Finally, I.Missing: emotional primary source
[35]
Evidence for Pianist-specific Rubato Style in Chopin Nocturnes.
The quest for understanding how pianists interpret notated music to turn it into a lively musical experience, has led to numerous models of musical expression.
[36]
Liszt's “Les Préludes”: The Birth of the Symphonic Poem
Nov 22, 2021 · This programmatic music, usually inspired by literary themes, crystalized with the thirteen symphonic poems (or tone poems) of Franz Liszt.
[37]
[PDF] Romantic Musical Aesthetics and the Transmigration of Soul
Feb 15, 2019 · In an 1838 review of recent string quartets, Robert Schumann wrote that music ought to reveal “rare soul- states” (seltenen Seelenzuständen) ...
[38]
Approaches to Composition (Part III) - Schoenberg in Context
Sep 4, 2025 · From March–July 1912, Schoenberg composed the extraordinary song cycle Pierrot lunaire, op. 21, for reciter and mixed chamber ensemble. A ...
[39]
The Rite of Spring | History, Composer, & Facts | Britannica
Oct 31, 2025 · It is considered one of the first examples of Modernism in music and is noted for its brutality, its barbaric rhythms, and its dissonance. Its ...
[40]
Louis Armstrong: The First Great Jazz Soloist | Smithsonian Music
Louis Armstrong's improvisations permanently altered the landscape of jazz by making the improvising soloist the focal point of the performance.
[41]
Karlheinz Stockhausen | Innovative 20th Century Composer
Oct 31, 2025 · Karlheinz Stockhausen was a German composer, an important creator and theoretician of electronic and serial music who strongly influenced ...
[42]
[PDF] Spectral Music; why create compositions with such a limited palette?
Spectral music began in the early 1970s France by Gerard Grisey and Tristan Murail and its movement established itself as one of the most important ...
[43]
[PDF] AI Methods in Algorithmic Composition: A Comprehensive Survey
Algorithmic composition is the partial or total automation of the process of music com- position by using computers. Since the 1950s, different computational ...
[44]
https://fiveable.me/key-terms/ap-music-theory/accelerando
[45]
Accelerando - (AP Music Theory) - Vocab, Definition, Explanations
Accelerando is characterized by a gradual increase in tempo, while ritardando signifies a gradual decrease. Both techniques are used to create contrast within ...
[46]
Agogic Accent - (AP Music Theory) - Vocab, Definition, Explanations
An agogic accent is a type of emphasis in music that is created by extending the duration of a note, thereby giving it greater weight and prominence within a ...
[47]
Phrasing in music: what is a musical phrase? | This is Classical Guitar
Jul 30, 2014 · It is an inexact term: sometimes a phrase may be contained within one breath, and sometimes sub-divisions may be marked. In notation, phrase ...
[48]
Groove or swing as distributed rhythmic consonance - PubMed Central
Groove or swing are terms employed in popular music genres to designate the efficacy of rhythmic musical structures in motivating us to move in time to ...
[49]
[PDF] Beethoven's Tempo Indications - OpusKlassiek
Feb 15, 2025 · although Beethoven provided six metronome marks for this symphony—one for every tempo indication—there is no metronome mark for this ...
[50]
A Brief History of the Mechanical Metronome - Guarneri Hall
Aug 12, 2021 · The metronome, as we know it, was patented by Johann Nepomuk Maelzel in 1815. Yet, Maelzel's metronome cannot be truly credited to Maelzel ...
[51]
[PDF] Reading Music: Common Notation - UFDC Image Array 2
Some articulations may be some combination of staccato, legato, and accent. ... Other notes may be marked with a combination of articulation symbols, for example ...
[52]
[PDF] Quantz on Ornamentation - Greg Dikmans
On the flute the first [Fig. 32] must be produced with a simultaneous blow of the finger and stroke of the tongue, and may be introduced in quick notes as ...
[53]
Baroque Ornamentation: A Window into the Art of Musical Decoration
Dec 15, 2023 · Baroque ornamentation encompassed a wide range of embellishments, such as trills, mordents, turns, appoggiaturas, and many others. These ...Missing: conventions | Show results with:conventions
[54]
[PDF] Analysis and expressive performance : four selected works by Chopin
In this dissertation, I examine four works by Chopin and address issues of expressive performance derived from principles of the nineteenth-century Swiss ...
[55]
[PDF] style and architecture in chopin's piano works
It can be said that Chopin represent the ornament culmination of the Romantic era. Continuity and expressive meaning of the chopinian melody is based on ...
[56]
[PDF] Domenico Scarlatti and the Hidden Voice Exchange
Dean Sutcliffe's The Keyboard Sonatas of Domenico Scarlatti, which came out in 2003 (Sutcliffe 2003). There is much to admire in Sutcliffe's book, despite its ...
[57]
Music Theory Online - Ornamentation - Dolmetsch Online
Oct 24, 2018 · This reference is taken from Ornamentation Practice of Late 19th and Early 20th-Century Brass Performance by Dr. Jeffrey Cottrell (reference ...<|separator|>
[58]
Armida on the Beach: A Cinquecento Rhetorical Model of the ...
Dec 1, 2023 · In adapting a rhetorical model of pathos to music, moreover, Zarlino established a crucial link between the literary discourse just surveyed ...
[59]
(PDF) Ut pictura, musica: Zarlino and Galilei on the Nature of Mimesis
Nov 4, 2021 · The concept of imitatio—and, in broader terms, mimesis—has long been recognized as a characteristic element of Zarlino's musical thought.Missing: rhetoric | Show results with:rhetoric
[60]
An Essay on Word Painting - College Music Symposium
Oct 1, 1984 · An Essay on Word Painting. Any meaningful attempt to appreciate a piece of vocal music must begin with its text, if it has one.<|control11|><|separator|>
[61]
Music, Rhetoric, and the Concept of the Affections - jstor
The inextricable union of music to principles of classical rhetoric in the baroque period is generally recognized, although a similar.
[62]
Beethoven's Instrumental Music: Translated from E. T. A. Hoffmann's ...
infinite. Love and melancholy sound in the pure spirit voices; night vanishes in a bright purple glow and with inexpressible longing we follow the forms ...
[63]
Society, Thought and Culture (Part II) - Liszt in Context
Sep 23, 2021 · The revolutionary, francocentric tone of Liszt's writing and music from the mid-1830s diminished greatly once he left Paris for Basel to ...
[64]
[PDF] Emotion and Meaning in Music - Tamiko Thiel
The greater the buildup of suspense, of tension, the greater the emotional release upon resolution. This observation points up the fact that in aesthetic ...
[65]
Music and Emotion—A Case for North Indian Classical Music - PMC
Dec 19, 2017 · Whereas emotions and moods are implied characteristics of Western Classical music, Indian ragas have prescribed emotional effects, or rasas ...
[66]
Experimental Composition: Stravinsky and Stein - Confluence - NYU
Mar 23, 2022 · Stravinsky argues for organization in music over pure expression in The Poetics of Music. This is clarified when he writes of natural sounds ...
[67]
[PDF] The aesthetics of Pierre Boulez - Durham E-Theses
... serial composition. Several writers have commented on Boulez's polemical ... Structure la.46 Although the title of Manfred. 42 Golea (1958a). 43 ...
[68]
Feminist Aesthetics - Stanford Encyclopedia of Philosophy
May 7, 2004 · A good deal of feminist criticism has been focused on eighteenth-century philosophy because of the many influential works on beauty, pleasure, ...